Alannah Halay

Dr Alannah Marie Halay (born 6 November 1990) is an internationally performed British composer and author known for her work with avant-garde, contemporary classical, and experimental music. Halay studied at the University of Leeds, where she received her PhD in composition. She is an Associate Fellow of the Higher Education Academy.

Alannah Halay
Born
Alannah Marie Halay

(1990-11-06) November 6, 1990
Bradford, West Yorkshire, United Kingdom.
Other namesAlannah Marie
Alma materUniversity of Leeds, BA, MMus, PhD[1]
Occupations
Years active2010–present
Websitealannah.co

Career

Halay was born in Bradford, West Yorkshire.

She received a place at the University of Leeds via its Access to Leeds Scheme.[2] She began her composing career as an undergraduate, when her piece Dry Veins (2012) for piano and voice was performed in the Leeds Lieder festival in 2012.[3] During her PhD, she was the winner of the Yorkshire Young Sinfonia Composition Competition 2015, and her composition Air, Earth, Water, Fire was selected to be workshopped in its summer course and performed alongside its BBC Radio 4 programme.[4][5] In the same year, she had a composition selected for the Gaudeamus Muziekweek Academy, which would be performed in the Gaudeamus Muziekweek Festival in 2016.[6] She attended the Gaudeamus Muziekweek Academy in the summer 2015 where she studied composition and contemporary harp techniques, and where she was selected to be the UK composer in cellist Katharina Gross's worldwide Cellomondo project.[7] Later in 2015, she worked with Hans-Joachim Hespos as a performer and composer, performing Hespos' Tja (1981) for pianist, wuniof ‘k (1989) on piano, and realising the tape part for his MusikBoxen (1995).[8] During this time she also received composition and performance training from Hespos.[9] In 2017, she worked with Dr Michael Spencer to celebrate the University of Leeds becoming a Steinway School, with their piece Resonance/Light/Decay being composed to be played on twenty-eight Steinway pianos.[10][11] Throughout 2022, Halay worked with the Calouste Gulbenkian Foundation through the support of enoa (European Network of Opera Academies), which selected her upcoming opera project, Queering Opera, for its Opera Creation Journey programme.[12][13][14] This follows her previous opera, Pacific Pleasures, which was written as a prequel to Leonard Bernstein's Trouble in Tahiti, and performed together by Bloomsbury Opera at Goodenough College in 2017.[15][16]

Overall, Halay's music has been performed internationally, by musicians such as Ian Pace, Rui Baeta, Katharina Gross, Peter Wiegold (Notes Inégales), Ryszard Lubieniecki, Lara Martins, and others.[17][18][19][20][21]

Publications

Halay's practice-led research formed the basis of her PhD thesis, Recognising Absurdity through Compositional Practice: Comparing an Avant-Garde Style with being avant garde. The same methodology has informed her other publications, including her edited book, (Per)Forming Art: Performance as Research in Contemporary Artworks, published by Cambridge Scholars Publishing.[22] Some of Halay's musical scores are available from the UCLA Music Library: Contemporary Music Score Collection.[23] Halay is also published by Vernon Press and the University of Nebraska Press.[24][25]

List of Compositions
  • 3 √Cube3 a.k.a. THE CUBE (2010–11)
  • Synchronising Pendulums (2011)
  • Arbitrary Iridescence (2011)
  • The Formation of Alcohol (2011)
  • Temporal Space (2011)
  • Breaking the Four Chambers (2012)
  • Escaping Frozen Music (2012)
  • Dry Veins (2012)
  • In the Zone (2012–13)
  • A Matter of Energy (2013)
  • CROSSWOR[K] (2013)
  • ‘…the space of his occupancy of a world at a time…’ (2013)
  • Inner a Mirror (2013)
  • Mo[u]rning Medi[t/c]ation (2013)
  • ‘…it’s already been done!’ (2013)
  • Interstice (2013–16)
  • Sienna I (2013)
  • Sienna II (2013)
  • The Carbon Loop (2013)
  • ENERGY CANNOT BE CREATED I: the title is an image (2013–14)
  • [Co]Valence Ia (2014)
  • The Interlocutor (2014)
  • ‘…with still a life or two to spare for the space of his occupancy…’ (2014)
  • [Co]Valence IIIb (2014)
  • Parallax Error (2014)
  • Re-press[ed] (2014)
  • The Ridge is beyond the Edge (2014)
  • Graphite Pendulum (2014)
  • ENERGY CANNOT BE CREATED II: 4B4 (2014–15)
  • petrichor (2015)
  • It sounds an isochronism. (2015)
  • To Rave in a Fifteenth-Century Discotheque from another Time Entirely (2015)
  • Air, Earth, Water, Fire (2015)
  • angustia (2015)
  • Praying for Gabriel (2015)
  • [Co]Valence II (2016)
  • [Co]Valence IIIa: Battling a Diversion of Thought (2016)
  • [Co]Valence IIIb: Battling a Diversion of Thought (2016)
  • [Co]Valence IIIc: Battling a Diversion of Thought (2016)
  • [Co]Valence IV (2016)
  • [Co]Valence Ib (2016)
  • [Co]Valence Ic (2016)
  • [Co]Valence Id (2016)
  • I Am Bound (2016)
  • We Lived in the Gaps Between the Stories (2016)
  • Pacific Pleasures (2016–17)
  • Film score for Littley Car (2016–17)
  • Brief Encounter (2017)
  • Tear (2017)
  • Cotransmission, Neurotransmission, Summation (2017)
  • ‘il progressi sempre tardi arriva’ (2017)
  • Resonance/Light/Decay (2017)
  • ENERGY CANNOT BE CREATED III: transferred states (2018)
  • ENERGY CANNOT BE CREATED IV: ...generously taken (2018)
  • Phaedra (2019)
  • The Signal Man (2017, rev. 2020)
  • Glitter Balls (Opera: Act 1 Finale Piano Reduction) (2022)
  • I am what I am (2022)

Discography
  • Parallax Error (2014): Katarina Gross, on Cellomondo #2: Rebirth in Sound (2018)
  • We Lived in the Gaps between the Stories (2016): Ryszard Lubieniecki, on Seeds (2019)
  • angustia (2015) and We Lived in the Gaps between the Stories (2016): Layers, on Grundgestein (2021)

Bibliography
  • Halay, Alannah Marie (September 2016). Recognising Absurdity through Compositional Practice: Comparing an Avant-Garde Style with being avant garde | Alannah Marie Halay. White Rose eTheses Online (phd). Retrieved 7 March 2023.
  • ‘(Per)Forming Art: Performance as a Compositional Technique’, in (Per)Forming Art: Performance as Research in Contemporary Artworks, ed. by Alannah Marie Halay (London: Cambridge Scholars Publishing, 2016), pp. 37–51.
  • ‘New Music Biennial, Hull’, in Sounds Like Now: Contemporary Music News magazine
  • ‘‘We Lived in the Gaps Between the Stories’ (2016) Amplified Accordion’, in Women and Music Journal (21: 2018)
  • ‘“Xenakis, not Gounod”: Xenakis, the Avant Garde, and May ’68’, in Exploring Xenakis: Performance, Practice, Philosophy (Wilmington, DE: Vernon Press, 2019)
  • ‘Parallax Error (2014) for any four-string bowed instrument' in UCLA Music Library: Contemporary Music Score Collection (2020)
  • ‘The Interlocutor (2014) for Horn, Electric Guitar, Piano (& synthesizer), Electric Violin‘ in UCLA Music Library: Contemporary Music Score Collection (2020)
  • ‘Air, Earth, Water, Fire (2015) for orchestra’ in UCLA Music Library: Contemporary Music Score Collection (2020)

References
  1. "Research: Alannah Marie Halay". University of Leeds School of Music. Retrieved 7 March 2023.
  2. AHC (8 April 2022). "enoa gives a voice to School of Music alum". ahc.leeds.ac.uk. Retrieved 10 March 2023.
  3. "Leeds Lieder+ From Europe to America – A Day of Song". bachtrack.com. Retrieved 10 March 2023.
  4. Bennett, Alan (January 2022). "Birth of an Orchestra". BBC Radio 4 Extra. BBC Radio 4.
  5. "Review: Yorkshire Young Sinfonia, York Barbican, August 22 | Martin Scheuregger". The York Press. 23 August 2015. Retrieved 7 March 2023.
  6. "Gaudeamus Muziekweek 2016". Gaudeamus. Retrieved 10 March 2023.
  7. "cellomondo composers". cellomondos Webseite! (in German). Retrieved 21 March 2023.
  8. LSTwo by University of Leeds - School of Music, retrieved 21 March 2023
  9. "Concerts : Composition". composition.leeds.ac.uk. Retrieved 21 March 2023.
  10. "University of Leeds becomes All-Steinway School". Rhinegold Publishing. Archived from the original on 22 January 2021. Retrieved 7 March 2023.
  11. "BBC Radio Leeds - Andrew Edwards, 12/12/2017". BBC. Retrieved 10 March 2023.
  12. "enoa gives a voice to School of Music alum". University of Leeds. 8 April 2022. Retrieved 7 March 2023.
  13. "Opera Creation Journey #1". enoa. Retrieved 7 March 2023.
  14. enoa. "Glitter Balls". enoa. Retrieved 10 March 2023.
  15. "A double bill of operas". spyinthestalls.com. 21 March 2017. Retrieved 5 March 2023.
  16. "Bloomsbury Opera and Goodenough College present Tahiti! | Chris Omaweng". LondonTheatre1. 26 March 2017. Retrieved 5 March 2023.
  17. "Ian Pace at Fifty Concert". Music at City. Retrieved 7 March 2023.
  18. "Eugeniusz Rudnik i jego maszyny | Letnia noc". polskieradio.pl. Retrieved 7 March 2023.
  19. "Gaudeamus Muziekweek: Cellomondo "cello-marathon"". TivoliVredenburg (in Dutch). Retrieved 10 March 2023.
  20. "Polskie Centrum Informacji Muzycznej". polmic.pl. Retrieved 10 March 2023.
  21. Pace, I. (30 April 2019). "23 World Premieres of New Commissions for Ian Pace at 50 - 30 April 2018. Composers including Patricia de Almeida, James Dillon, Michael Finnissy, Christopher Fox, Sadie Harrison, Morgan Hayes, Wieland Hoban, Alwynne Pritchard, Lauren Redhead, Walter Zimmermann". openaccess.city.ac.uk. Retrieved 10 March 2023.
  22. "(Per)Forming Art: Performance as Research in Contemporary Artworks - Cambridge Scholars Publishing". www.cambridgescholars.com. Retrieved 10 March 2023.
  23. "Search". {{cite journal}}: Cite journal requires |journal= (help)
  24. Alfia Nakipbekova (15 July 2019). "Exploring Xenakis: Performance, Practice, Philosophy [Hardback]". {{cite journal}}: Cite journal requires |journal= (help)
  25. "Journal - Nebraska Journals". nebraskapressjournals.unl.edu. 14 December 2017. Retrieved 10 March 2023.
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